AKG C414B Hum problems

I thought I’d write a quick post on this in case some of you experience a similar problem, it may save you hassle and expense.

I have a pair of AKG C414B mics, they are real workhorses and as the cliche goes, the studio Swiss army knife. On top of that they are solidly built and very reliable. But sometimes things go wrong. I recently did a bit of drum recording for myself and was listening back when I noticed a faint but distinct mains frequency hum on the overheads (my 414s). I had them running through my home made Neve preamps and then into a pair of line-level inputs on my UA Apollo interface. I automatically assumed the hum was coming from my home-made preamps rather than the solid, Austrian-engineered AKG mics. I duly set out to test, swapping cables, microphones and trying various configs of phantom power on / off on each channel, until it was clear that the problem lie with one of the 414s.

Faced with an expensive repair, I thought, well, let’s open it up and see if anything obvious was up with it.

Hmmm, lots of surface mount components and no obvious signs of trouble. A quick Google search led me to this post. Not exactly the same problem but similar, so I read on. Turns out that the grill / mesh of the mic connected to ground via pin 1 of the XLR forms a Faraday Cage, which helps shield the high-impedance capsule from EMI noise in the room. The mesh makes contact mechanically and if this connection is a little dodgy, it won’t work and there will be noise. I tested the resistance between pin 1 on the XLR and the mesh, it was a variable which immediately suggests a problem. I went about gently squeezing the base of the mesh in an attempt to improve the mechanical connection. Checking again, the resistance was now consistently minimal, so time to test. I put the body back on and plugged it in, powered it up and hey presto, no noise. Phew!…. So if you’re having this kind of issue, try this first, the mic is easy enough to open , just remove the 2 screws on the base (star driver or a flat head screw driver will do) and the smaller cross head screw in the XLR connector base and then slide the body off.

Flying mics and ominous cymbals

I recently read an article on the flying mic technique – not sure where, may have been TapeOp – but being a fan of the more esoteric side of recording, I thought I have to try that out.

The idea is simple, you suspend a mic from a pulley via a length of string which allows you to smoothly raise and lower the microphone. You then record a source and vary the mic position as the source sound decays, allowing you to pick up more of the detail in the decay of the sound.

This technique is particularly interesting with cymbals. If you have the mic too close, the initial attack will likely overload it so you won’t capture the detail in the moments immediately after the transient, but with the mic far away you can’t readily pick up the fine details of the decaying sound. And it’s in that decaying sound that a lot of the interest lies; cymbals produce lots of non-harmonic tones, i.e. frequencies not related to each other nor a fundamental pitch by integer multiples as we find with strings or pipes.

I set up a mic stand over my ride cymbal and improvised a makeshift axle from the clamp for a reflection filter, this would function as a pulley and allow a length of string to travel freely over it and up and down over the cymbal. For the microphone I chose my trusty Oktava MK-012  (modified by Micheal Joly) with an omni-pattern capsule so that I could get really close into the cymbal without the proximity effect. I tied the mic to one end of the string and made sure there was enough free XLR cable to allow the mic to travel freely up and down.  With the other end of the string in my left hand and a drum stick in my right, I practiced striking the cymbal whilst simultaneously lowering the mic. It took a few goes to get the timing right but eventually I could ride the mic in just after the initial hit and get it very close to the cymbal surface for the decay.

I also experimented with moving the mic around the cymbal surface to capture different harmonics. Monitoring on headphones also allowed me to get the movement right in terms of riding the volume.

So here are some results:

I think there’s some great scope for sound effects and soundscapes using these. With that in mind, here are a pair of hits reversed, hard panned and with an added splash of reverb to create an eerie, ‘something bad is about to happen’ kind of sound:

Happy experimenting…..